An Architect's Note-Book in Spain Part 25

[35] There is a little discrepancy between Ford's and O'Shea's accounts, the former says that it was given by the Republic of Genoa to Charles V., the latter gives the facts as I have stated them.

[A] Miguel Manara Vicentelo de Leca (1627-1679). Note of etext transcriber.

[36] See, especially for Spain, his "Monuments Arabes et Moresques de Cordoue, Seville et Grenade." Paris, 1832-3, and its continuation--"Monuments Arabes d'Egypte de Syrie et d'Asie Mineure,"

1842-5, Paris. The above are essentially pictorial works, but in his "Essai sur l'Architecture des Arabes et des Maures," &c., Paris, 1841, he has discussed the whole subject historically with much ability.

[37] Plan section and elevation of the outer side of this Gateway, to a large scale, will be found on Plate II. of Owen Jones's great work on the Alhambra. I sketched the interior of this Gateway, mainly because that was the only part of it which he had not given.

[38] A pretty coloured view from this very point will be found in M.

Girault de Prangey's "Choix d'Ornements moresques de l'Alhambra," Paris, 1842. Plate No. 3.

[39] An alabaster fountain probably occupied the centre of the Sala de Embajadores.

[40] It is but just to Senor Contreras to remark that the Poet's picture was sketched before the date of his admirable conservators.h.i.+p. He is a true artist, and has done wonders in the way of restoration, completing and as little as possible interfering with the marvellous picturesque character of the n.o.ble old Palace.

[41] Calcutta, 1821.

[42] "A Journey to Mequinez, the residence of the present Emperor of Fez and Morocco, on the occasion of Commodore Stewart's Emba.s.sy thither for the redemption of the British Captives in the year 1711." London, Jacob Tonson. 1725. A very interesting old book, the descriptions in which carry the mind forcibly back to the Moorish occupation of Spain.

[43] For full information on the Gla.s.s of the Romans, the Byzantine-Greeks, and the Arabs, of Damascus especially, see Mr.

Augustus Franks' account in Mr. J. B. Waring's beautiful work on the Manchester Exhibition, Mr. Alexander Nesbitt's "Historical Notice"

Introductory to the Catalogue of Mr. Felix Slade's collection, M.

Bontemps' "Guide du Verrier," and M. Labarte's "Histoire des Arts Industriels au moyen-age et a l'Epoque de la Renaissance."

[44] Of course alluding to the ceiling, which is even more beautiful in the same style, than that of the Hall of the Abencerrages, which, my colleague, Mr. Owen Jones so perfectly reproduced in the Crystal Palace at Sydenham.

[45] "The Kiblah is the point in the horizon towards which Mahommedans turn in their prayers marking the place where Mecca stands. The Mihrab is the enclosure before the Kiblah."

[46] See Mr. J. B. Waring's masterly sketches of the details of these works of art.

[47] Who also states that in his time the drawings of the design by Diego Siloe were yet extant, "Noticias de los Arquitectos y Arquitectura de Espana." Madrid. 1829. Vol. I. page 199.

[48] "History of the Modern Styles of Architecture," by James Fergusson.

London. 1862. page 135.

[49] Mr. Street in referring to the usual practice in good mediaeval iron screens observes that in such "the ornament is reserved for open traceried crestings, with bent and sharply cut crockets, for traceried rails, and for the locks and fastenings." He mentions a very fine iron screen, thirty feet high, as existing at Pamplona, the general design of which seems to have a good deal in common with that of the "Reja de los Reyes" at Granada. It appears, however, to be of earlier date, and consequently more decidedly Gothic in character.

[50] "Varia Commensuracion." Sixth Edition, pages 221-222.

[51] Casts of these sculptures I caused to be placed in the surbase of the Renaissance Court of the Crystal Palace.

[52] Viage de Espana. Vol. XV. page 79.

[53] "Gothic Architecture in Spain," page 270.

[54] "Marcos Obregon por el Maestro Vicente Espinel." Madrid. 1804.

Pages 40-41. (note of etext transcriber: sagon should read razon.)

[55] "History of the Reign of Ferdinand and Isabella the Catholic." New York. 1845. Page cxi.

[56] Navagiero--"Il Viaggio fatto in Spagna." Venice. 1563. Page 3.

[57] "Recuerdos y Bellezas de Espana," por F. J. Parcerisa escrita y doc.u.mentada, por P. Piferrer y J. Pi y Margall. Cataluna. Tome II., page 222.

[58] "Travels through Spain and Part of Portugal." Sherwood Collection.

London, 1818, page 281.

[59] Ponz, Antonio, "Viage de Espana." Third Edition. Madrid. 1787. Vol.

I. page 54.

[60] "A View of Spain." Translated from the French of Alexandre de Laborde. London, 1809. Vol. IV., pp. 371-3.

[61] Even better known as "El Vandolino."

[62] "Varia Commensuracion para la escultura y Arquitectura, s.e.xta impresion." Madrid, 1773. Page 222.

[63] "Travels through Spain and Part of Portugal," by the Rev. G. D.

Whittaker in 1803. Sherwood's Collection, London, 1813, page 279.

[64] "Days al Diablo un Italiano, y no le toma el Diablo, por que ay Italiano que tomara al Diablo."

[65] "Y haveys de saber que en Espana los misterios de las cuentas de los Ginoveses, son dolorosos para los millones que vienen de las Indias, y que los canones de sus plumas son de bateria contra las bolsas, y no ay renta que si la cogen en medio el tajo de sus plumas, y el jarama de su tinta no la ahoguen." (The reader will observe the double meaning which points Quevedo's sarcasm--"canones" express at the same time quills and cannons.)--"Suenos y Discursos por Don Francisco de Quevedo Villegas Zaragoza." 1627. Page 19.

[66] "Letter of a Lady's Travels into Spain." London. Ninth Edition.

[67] "Une Annee en Espagne," par Charles Didier. 1837.